Trio Sonatas Research Articles

The Piano in Chamber Ensemble: An Annotated Guide by Maurice Hinson and Wesley Roberts

Reviewed by: The Piano in Chamber Ensemble: An Annotated Guideby Maurice Hinson and Wesley Roberts David A. Day The Piano in Chamber Ensemble: An Annotated Guide. 3rded. By Maurice Hinson and Wesley Roberts. Bloomington: Indiana University Press, 2021. [xxxiv, 817 p. ISBN 9780253056733 (hardback), $85. Also available as e-book, ISBN and price vary.] Over the course of his fifty-eight-year career at the Southern Baptist Theological Seminary, pianist and musicologist Maurice Hinson (1930–2015) produced a remarkable legacy of repertory guides and bibliographies related to the piano. Highlights include his Keyboard Bibliography(Cincinnati: Music Teachers National Association, 1968), Guide to the Pianist's Repertoire(Bloomington: Indiana University Press, 1973, [End Page 385]1987, 1991, 1994, 2000, 2014), Piano Music in Nineteenth-Century America(Chapel Hill, NC: Hinshaw Music, 1975), The Piano in Chamber Ensemble: An Annotated Guide(Bloomington: Indiana University Press, 1978, 2006, 2021), The Piano Teacher's Source Book: An Annotated Bibliography of Books Related to the Piano and Piano Music(Melville, NY: Belwin-Mills, 1974, 1980), Music for Piano and Orchestra: An Annotated Guide(Bloomington: Indiana University Press, 1981, 1993), Music for More than One Piano: An Annotated Guide(Bloomington: Indiana University Press, 1983, 2001), The Pianist's Reference Guide: A Bibliographical Survey(Los Angeles: Alfred Publishing, 1987), The Pianist's Guide to Transcriptions, Arrangements and Paraphrases(Bloomington: Indiana University Press, 1990, 2001), The Vienna Urtext Guide to Piano Literature(Valley Forge, PA: European American Music, 1995), The Pianist's Bookshelf: A Practical Guide to Books, Videos, and Other Resources(Bloomington: Indiana University Press, 1998), and The Pianist's Dictionary(Bloomington: Indiana University Press, 2004, 2020). Many of these works were subsequently published in foreign languages, including Korean and Chinese. This third edition of The Piano in Chamber Ensemblewas produced by Wesley Roberts, who also collaborated with Hinson in releasing the second edition in 2006. Roberts also oversaw the fourth edition of Guide to the Pianist's Repertoire(2013) and the second edition of The Pianist's Dictionary(2020). The authors have consistently pointed to the attraction of chamber music: its special intimacy and depth of emotion. Promoting the love of chamber music is identified as their primary purpose. The publisher's description indicates the current edition encompasses more than 3,200 works by more than 1,600 composers. Otherwise, the entries are not numbered, and the size of the total repertory is not identified. The preface to the third edition states that more than 1,400 new compositions representing more than 300 additional composers have been added since the second edition. Roberts further notes that this enlargement embraces both new works from the first two decades of the twenty-first century and works from previous periods. The scope of the repertory is confined to "compositions requiring no more than eight instruments (including piano)" (p. ix). The period of coverage is mostly limited to 1700 forward (basically corresponding to the birth of the modern piano). Beginning with the first edition, however, select early trio sonatas with keyboard realizations were also included. By the compilers' own admission, the selection of works is somewhat subjective, and both Hinson and Roberts acknowledge the difficulty of identifying every worthy work. In theory, only works where the piano has an equal musical importance to the other instruments are included. But, given that the overwhelming majority of the repertory is duos, mostly in the form of sonatas for a solo instrument with piano accompaniment, this claim can and has been challenged by other reviewers. Across all three editions, the guide maintains a consistent organization and focus. Roberts reaffirms his intent to address Hinson's three foundational questions (p. ix): What is there? What is it like? Where can I obtain it? The contents are organized by size of ensemble, starting with duos and extending to octets. Within each of these categories, the specific instrumentation is organized following orchestral scoring—first strings, followed by winds and brass, then percussion. Headings at the top of each page make it reasonably easy to browse the contents. Within each instrumental category, works are organized alphabetically by the composer's last name. As stated somewhat vaguely in the opening remarks, [End Page 386]multiple...

PIANO QUARTETS OF L. BEETHOVEN: MOZART’S PROTOTYPES AND AUTHOR’S INITIO

Background. The article provides an analysis of L. Beethoven’s piano quartets through the prism of the ensemble writing and composition experience by W. A. Mozart. The disclosure of the successive ties between the two great Viennese classics in the field of chamber instrumental music contributes to the scientific understanding of the history of this genre, which is not sufficiently covered in musicology. The analysis revealed that the four piano quartets of L. Beethoven are focused on Mozart’s prototypes, or rather, on sonatas for violin and piano. It was found that the formative principles of Beethoven’s piano quartets grow from the above-mentioned compositions by W. A. Mozart, but the content and the ensemble-dramatic solution reflect the independence and originality of the young composer’s thinking, revealing the sprouts of a future mature style. The purpose of this article is to disclose the ways of rethinking the prototypes of Mozart in the piano quartets of L. Beethoven. The piano quartets of the latter serve as the musical material of the article: No. 1 Es-dur, No. 2 D-dur, No. 3 C-dur WoO 36, and No. 4 Es-dur op. 16. Results. L. Beethoven changes the algorithm of ensemble events contained in Mozart’s opuses, where the theme is presented in turn by piano, violin, followed by the conversation of the two. The composer immediately includes all members of the quartet in the presentation of the leading material, which specifies this genre, revealing its “intermediateness” between the intimacy of the trio and the “representativeness” of the concerto. Since the genetic origins of the genre of the piano quartet are the trio sonata, the string quartet and the clavier concerto with the accompaniment of a string ensemble, these genres influenced the type of Beethoven’s piano quartets. Thus, Beethoven’s Bonn quartets resemble in their writing a string quartet; and the piano quartet Es-dur op. 16 resembles a clavier concerto with orchestra. These compositions are related to the first of the above mentioned prototypes by the consistent application of the trio principle, which is expressed in various combinations of ensemble voices. In the timbre refraction, the trio-principle underlies the pairing of stringed instruments, where the bowed instruments form a strictly homophonic vertical with the traditional functional relationship according to the “upper voice ‒ bass ‒ middle” model. Another dimension of the trio principle arises when one of the string parts of the piano is displaced, as a result of which a multi-timbre sound field is formed. There is an obvious desire of the composer for the equality of four voices in the piano quartet. At the same time, the timbre uniqueness of the piano and the virtuosity of its part make it possible to recognize in it the leader of the ensemble union. Conclusion. The leading role of the piano in L. Beethoven’s piano quartets brings this genre closer to a piano concerto. At the same time, the piano has a variety of role functions: it can act as an equal partner, being one of the voices of the quartet score; as a concert instrument demonstrating its virtuoso capabilities; as a leader of an ensemble, a kind of conductor, giving impetus to performance, initiative in ensemble play. Similar functions can be observed in W. A. Mozart’s sonatas for violin and piano, which L. Beethoven was guided by.

Organization of <em>Carl Philipp Emanuel Bach: The Complete Works</em>

Organization of Carl Philipp Emanuel Bach: The Complete Works Cliff Eisen (bio) I. Keyboard Music (18 vols.) 1. “Prussian” and “Württemberg” Sonatas 2. Sonatas with Varied Reprises 3. “Probestücke,” “Leichte” and “Damen” Sonatas 4. “Kenner und Liebhaber” Collections (2 parts) 5. Miscellaneous Sonatas from Prints (2 parts) 6. Sonatas from Manuscript Sources (5 parts) 7. Variations 8. Miscellaneous Keyboard Works (2 parts) 9. Organ Works 10. Arrangements of Orchestral Works (2 parts) II. Chamber Music (7 vols.) 1. Solo Sonatas 2. Trio Sonatas (2 parts) 3. Keyboard Trios (2 parts) 4. Accompanied Sonatas 5. Quartets and Miscellaneous Chamber Music III. Orchestral Music (29 vols.) 1. Berlin Symphonies 2. Six Symphonies for Baron van Swieten 3. Orchester-Sinfonien mit zwölf obligaten Stimmen 4. Flute Concertos (2 parts) 5. Oboe Concertos 6. Violoncello Concertos 7. Keyboard Concertos from Prints 8. Sei concerti per il cembalo concertato 9. Keyboard Concertos from Manuscript Sources (15 parts) 10. Concertos for Two Keyboards 11. Keyboard Sonatinas from Prints 12. Keyboard Sonatinas from Manuscript Sources (2 parts) 13. Sonatinas for Two Keyboards [End Page 80] IV. Oratorios and Passions (24 vols.) 1. Die Israeliten in der Wüste 2. Die Auferstehung und Himmelfahrt Jesu 3. Passions-Cantate 4. Passions according to St. Matthew (6 parts) 5. Passions according to St. Mark (5 parts) 6. Passions according to St. Luke (5 parts) 7. Passions according to St. John (5 parts) V. Choral Music (20 vols.) 1. Magnificat (2 parts) 2. Quartalstücke (6 parts) 3. Einführungsmusiken (5 parts) 4. Bürgercapitainsmusiken 5. Works for Special Occasions (2 parts) 6. Miscellaneous Sacred Works (4 parts) VI. Songs and Vocal Chamber Music (4 vols.) 1. Gellert Songs 2. Cramer and Sturm Songs 3. Miscellaneous Songs 4. Arias and Chamber Cantatas VII. Theoretical Works (3 vols.) 1. Versuch über die wahre Art das Clavier zu spielen I 2. Versuch über die wahre Art das Clavier zu spielen II 3. Commentary to the Versuch VIII. Supplement (10 vols.) 1. Miscellanea Musica 2. The Polyhymnia Portfolio 3. Librettos (3 parts) 4. Portrait Collection (2 parts) 5. Historical Catalogues 6. Sources and Scribes 7. Indices Total estimated volumes: 115 Detailed contents of individual volumes, plus the introductions of published volumes and librettos for vocal works, can be found at www.cpebach.org. [End Page 81] Reviews Carl Philipp Emanuel Bach: The Complete Works (Los Altos, CA: Packard Humanities Institute, 2005–). If any collected works edition of a composer deserves the description “monumental,” it is surely Carl Philipp Emanuel Bach: The Complete Works, a joint undertaking of Harvard University, the Bach-Archiv Leipzig, and the Sächsische Akademie der Wissenschaften zu Leipzig, sponsored by the Packard Humanities Institute. Begun in 1998, the edition includes not only Bach’s music, but also facsimiles; free downloads of parts and ancillary material not always included in complete editions, such as a fascinating catalogue of Bach’s portrait collection, reconstructed by Annette Richards; and an excellent new edition of Bach’s Versuch über die wahre Art das Clavier zu spielen, edited and with commentary by Tobias Plebuch. To be sure, the C. P. E. Bach edition stands on the shoulders of other eighteenth-century monumental editions, including the Joseph Haydn Werke and the Neue Mozart-Ausgabe. But it surpasses these in its rigorous view of the sources, its thoughtful editorial philosophy and policies, the quality of the editing and the volumes’ forewords, and its broad view of Bach as a composer working within the context of particular locales at particular times or for particular—and sometimes diverse—audiences. It has the advantage, too, of having been undertaken only after many of the philological basics for dealing with eighteenth-century music have been more or less settled through the work of scholars like Wolfgang Plath, Alan Tyson, and Georg Feder, and after some vigorous debates concerning performance practice as well as the importance of the cultural context to a composer’s life and works. Finally, unlike the Mozart edition in particular, it has benefited from the recent recovery of sources previously thought to have been lost, especially, in 1999, the archives of the Sing-Akademie zu Berlin, which includes some unique copies of Bach’s...

The Sonata in Restoration England: From Fantasia Suites to Early English Trio Sonatas

ABSTRACT Even though the sonata spread from Italy throughout Europe no later than the second decade of the seventeenth century, it seems to have been introduced into England only after the Restoration. One of the reasons for this was the popularity of the fantasia suite, which remained in circulation both inside and outside the court. The absorption of the Italian sonata in England was a gradual process, but it eventually came to occupy a prominent position within English musical life after Corelli’s music arrived at the turn of the century, nearly sweeping away any kind of English instrumental music. Nevertheless, when and how the sonata was introduced into England is still not fully understood. An examination of two particular early trio sonatas written in England can help to understand how the Italian sonata was introduced in England and the extent of its influence on early English sonatas in the latter part of the seventeenth century.

The Sonatas of Henry Purcell: Rhetoric and Reversal by Alon Schab

Reviewed by: The Sonatas of Henry Purcell: Rhetoric and Reversal by Alon Schab Joel Roberts The Sonatas of Henry Purcell: Rhetoric and Reversal. By Alon Schab. (Eastman Studies in Music.) Rochester, NY: University of Rochester Press, 2018. [xi, 263 p. ISBN 9781580469203 (hardcover), $99; ISBN 9781787442634 (e-book), $24.99.] Music examples, tables, bibliography, index. The Sonatas of Henry Purcell: Rhetoric and Reversal is the product of a lifetime of work by Alon Schab. Like many scholarly endeavors, Schab's research has evolved over the years. Though he has always centered on Purcell, Schab focuses on symmetry and reversal in the trio sonatas in this book, which is the first to explore these devices as they relate to the listener's perception of them. Many think of Purcell as a composer of vocal music, yet he was one of the most prolific English composers of instrumental music during his time. But even within the scope of his instrumental works, the sonatas have received relatively little attention. Purcell's trio sonatas are a lesser-known component of his body of work; though other publications discuss the sonatas, according to Schab they have historically been omitted from studies on counterpoint and generally excluded from historical anthologies. According to his introduction, it was this lack of research—and more specifically the lack of research on symmetry and reversal—that provided the inspiration for this study. With all this in mind, Schab will likely give some readers their first opportunity to explore this music. Schab's book is neither a purely musicological text nor a theoretical analysis of Purcell's music, though he admits that it leans a little more towards theory. The book, however, does not inundate the reader with harmonic analysis of numerous music excerpts. Rather, Schab more often examines aspects of Purcell's compositional techniques while either addressing the aural perception of these devices or demonstrating the difficulty in their recognition by the listener. He uses notation and charts to illustrate the devices in Purcell's compositions that are difficult to hear. In order to separate the audibly perceptible and imperceptible aspects of the sonatas, Schab has organized this book in a way that divides by chapters the audible (chaps. 3–6) and inaudible (chaps. 2 and 7) compositional structures. Schab begins the book with a discussion of the sources of Purcell's twenty-two sonatas. He shows that the first twelve, published in 1683, were carefully planned regarding key. Purcell arranged them in order beginning with minor keys, followed by their respective parallel major keys, and then separated in pairs by perfect fifths. The remaining ten sonatas, printed posthumously by Purcell's widow, were consequently organized more haphazardly. Following his discussion of the sources, Schab outlines Purcell's general sonata structure, which he compares [End Page 581] to sonatas of other composers such as John Blow and Giovanni Battista Draghi, contemporaries of Purcell in England. Given the relationship between Purcell and Blow, it is natural to expect a great deal of similarity between the two. Schab points out, however, that Purcell's sonatas are almost entirely different from the model presented in his mentor's one sonata. As one of the two chapters that addresses audible structures, chapter 2 begins with the discussion of rhetoric, which Schab defines as "the way in which music, and certain patterns in the music, is received by the listener" (p. 45). He includes a discussion of Purcell's harmonic and contrapuntal tendencies, and he ties counterpoint and harmony into their relationship with the listener's experience. Schab points out that not only does rhetoric involve perception by the listener but also for seventeenth-century composers the listener was an integral part of the rhetorical process. In the last chapter, which also deals with audible devices, Schab discusses Purcell's use of ground bass in the Trio Sonata, Z. 807, which shares a subject with Z. 790, the "frontispiece" (a movement type cited on p. 26) of the first twelve sonatas from 1683. Although this book focuses on Purcell's trio sonatas, Schab begins to address other instrumental genres—particularly the fantasias—in chapter 3. This joint discussion is natural in that "Purcell himself bound...

ИНСТРУМЕНТАЛЬНЫЕ КОНЦЕРТЫ Й. ГАЙДНА В КОНТЕКСТЕ МЕЖЖАНРОВЫХ ВЗАИМОДЕЙСТВИЙ

The article examines the formation processes of J. Haydn’s instrumental concerts in the culturological aspect. The development of the timbre and quantitative instrumental component is analysed in close connection with the music playing practice of that period. The paper considers inter-genre interaction and sociocultural aspects that influenced the genre development. Among them, the author identifies the following ones: musical education, amateur performance, blossom of leisure culture, etc. Crystallization of instrumental groups in J. Haydn’s concerts is considered in relation to the practice of ensemble intoning and concerting established in trio sonata and concerto grosso. Instrumental and orchestral compositions of J. Haydn’s concerts are examined and classified.

Reversal and rhetoric in Purcell’s sonatas

Alon Schab’s book marks something of a landmark in the Purcellian literature: the first major study to focus on the composer’s instrumental music, and on a single genre at that—the 22 trio sonatas published respectively in 1683 (Twelve Sonnata’s of III Parts) and 1697 (Ten Sonata’s in Four Parts, for an identical ensemble of violins and bass a3 plus continuo, in spite of the different title). The former of these publications, engraved by Thomas Cross and self-published by Purcell, marked an audacious entry into the world of printed music for a young composer keen to advertise his musical credentials as well as his social pretensions (see Cheryll Duncan, ‘Henry Purcell and the construction of identity: iconography, heraldry and the Sonnata’s of III Parts (1683)’, Early Music, xl/2 (2016), pp.271–88). By contrast with the engraved sophistication of this volume, the posthumous 1697 set has attracted far less attention as a publication: ‘printed carelessly’ from movable type, ‘the motivation behind [it] was most likely Purcell’s widow’s pragmatic attempt to benefit from her late husband’s estate’ (p.20). As Schab notes, however, as one of two key sources for a number of the works it contains, the 1697 print is actually part of a much more interesting story: autographs for seven of the 1697 works survive in the earlier manuscript British Library, Add. Ms. 30930, with frequent divergence from the texts that would eventually find their way into print. Moreover, they coexist in that manuscript with the primary sources of all of Purcell’s three- and four-part Fantazias, together with the two In Nomines, the ‘Fantazia upon One Note’ and assorted other consort works, a body of repertory that assumes greater importance as one progresses through Schab’s book—to the extent, indeed, that the study is concerned really with Purcell’s instrumental music as a whole, in spite of the more restrictive title.

Bach chamber music

This review takes stock of recent releases of Johann Sebastian Bach’s chamber music. The seven recordings surveyed include multiple interpretations of Bach’s flute sonatas, as well as discs of trio sonatas, The Musical Offering and The Art of Fugue. J. S. Bach’s compositions for flute consist of sonatas with basso continuo, sonatas for obbligato harpsichord and flute, and a solo for unaccompanied flute. The genesis and context of these works are uncertain, although they are usually posited to range in date from Bach’s years in Köthen until probably 1741 in the case of bwv1035. Bach’s writing for the instrument is virtuosic and wide ranging in emotional effect—attributes ably demonstrated in the performances under review. Flautist Rachel Brown and harpsichordist Laurence Cummings offer renditions of Bach’s flute works in Johann Sebastian Bach: A tribute to Bach: Bach flute sonatas & arias (Uppernote upcd003, rec 2013, 128′). Brown is known both for her performances with leading European ensembles as well as her writing on historical performing practices, most notably The early flute: a practical guide (Cambridge, 2002). Released on Brown’s own record label, this two-disc set contains the E minor and E major sonatas for flute and continuo (bwv1034 and bwv1035), the B minor and A major sonatas for obbligato harpsichord and flute (bwv1030 and bwv1032) and the Solo (Partita) in A minor (bwv1013). Also included is an arrangement by Brown of the F minor harpsichord concerto bwv1056 (transposed to A minor) and one-movement selections from other works, mostly cantatas.

The effect of music listening intervention applied during radiation therapy on the anxiety and comfort level in women with early-stage breast cancer: A randomized controlled trial

IntroductionThe aim of this study was to examine the effect of a music listening intervention applied during radiation therapy on the anxiety and comfort level experienced by women with early-stage breast cancer. MethodThis randomized controlled study was conducted with 60 patients residing in a city located in western Turkey. After providing informed consent, the Hospital Anxiety and Depression Scale (HADS), and Radiation Therapy Comfort Questionnaire (RTCQ) were administered. A music listening intervention was applied to the patients in the intervention group during radiation therapy once a day for 5 weeks. The patients in the intervention group listened to Bach’s 19 Trio Sonatas via an MP3 player with headphones for 20–40 min. The HADS and RTCQ were administered after the 5th week to evaluate anxiety and comfort levels. ResultsWhen HADS and RTCQ scores of the patients in the control and intervention groups before and after the intervention were compared, the differences between the groups were found to be statistically significant in favour of the intervention group (p < 0.001). There was a significant difference between intervention and control groups the pretest-posttest difference scores of HAD-A (F = 31.889, p = 0.000) and HAD-D (F = 46.848, p = 0.000) subscales of the HADS. A significant difference was also found between intervention and control groups the pretest-posttest RTCQ scores (F = 50.434, p = 0.000). ConclusionsMusic may provide an effective, non-invasive, cost-effective, easy to apply complementary approach without side effects which can be administered to women with breast cancer during radiation therapy.

”The image” of the violin in the creative work of A. Corelli (on the example of the concerto grosso genre)

Statement of the problem. The violin style of A. Corelli, a composer-violinist who laid the foundation for the development of the violin art in Europe, represents a special “image of the instrument” that entered the professional-academic arena during the Baroque era. The research of A. Corelli’s violin style belongs to the field of organology, which is dedicated to the integrated study of instruments as the “organs” of musicians’ thinking. The close relationship, connection of the individual who is playing music with his/her instrument is not only one of the little developed theoretical problems, but also the basis of the practice for performing music, as well as learning this art. Analysis of recent publications on the topic. The available sources on the creative work of A. Corelli (written by K. Kuznetsov, I. Yampolsky, L. Ginzburg, N. Harnoncourt) contain either general information or individual observations on the image of the violin in the Baroque era. It is necessary to point out the significance of the general theory of the violin style (E. Nazaikinsky, V. Medushevsky, V. Kholopova, Y. Bentya) for the development of scientific ideas about the "image of the violin". The purpose of the article is to identify the special features of the “image” of the violin in the style of A. Corelli on the material of Concerti grossi op.6. The presentation of the main material. At the time of the creation of Concerts op.6 by A. Corelli, in Italy there was a violin school, which was distinguished by an exceptional variety of playing techniques. It was here that the historical process of replacing the viol with the violin was finally completed. The violin becomes the leading instrument in the instrumental genres of the 17th century music – suite, trio-sonata, solo sonata, and by the end of the century – concerto grosso. The path of movement to A. Corelli’s universal, generalized-reduced violin style ran along the line “ensemble feature – concert feature – solo feature”. The creation of the academic style of the violin playing logic is the merit of the Bologna school. The main thrust of the violin style of Bologna masters (Torelli, Antonia, Bassani, Vitali, and later Corelli and Vivaldi) is the combination of “church” and “chamber” models of the violin playing. For instrumental sound in an ensemble or orchestra, a “canon” and certain limitations in the technique of the playing are necessary, allowing establishing the balance of the parts of instruments and instrumental groups. The “invention” (inventio) in the violin playing, characteristic of the Italian school of the first half of the 17th century, was aimed at identifying the whole complex of the possible techniques of playing this instrument. The violin plating logic in Concertі grossi by A. Corelli is subordinated to the combination of two artistic and aesthetic tasks arising from two styles of concert making – the “church” one and the “chamber” one. Hence the choice of the appropriate techniques for playing. The “church” style, despite its democratization inherent in the Italian violin school, acquired the functions of a public concert for a mass audience and was distinguished by greater severity and regulation of the complex of the violin playing techniques. This stemmed from the genre style (“concert in the church”), where polyphonic presentation prevailed in the fast parts, the “tempo” names of the parts were used, and the organ in the numbered bass part was used. The “chamber” style opened up wider possibilities for the violin and the creation of an expressive technical complex associated with the genre (“dance” parts), replacing the organ in basso continuo with the harpsichord (cembalo), other stringed and plucked instruments (lute, theorbo), low string-and-bow instruments (gamba, cello, double bass), which gave a mono-articulate character to the general sounding. Playing shades of "lively speech" on the violin is a characteristic feature of A. Corelli’s violin style, reflected in the instrumental-playing complex through phrasing, attention to details and to micro-intonation. Conclusions. In describing the historical and artistic situation, in the context of which the style of the “great citizen of Bologna” was formed, its innovations have been outlined. The signs of the turning epoch have been indicated – they are the transition from the Renaissance polyphony and the “church” style to the secular homophony, with the instruments of the violin family singled out as the main ones. The particular attention has been paid to the principles of the violin intonation in the form of a speech playing (sprechendes Spiel) and dance motor skills, which together formed the semantics of A. Corelli’s violin style in the genres of concerto grosso, trio sonatas, solo sonata with bass. The main features of A. Corelli’s violin style, which became determinant for compositional decisions in the field of thematic, texture, and harmony, have been revealed.

”The image” of the violin in the creative work of A. Corelli (on the example of the concerto grosso genre)

Statement of the problem. The violin style of A. Corelli, a composer-violinist who laid the foundation for the development of the violin art in Europe, represents a special “image of the instrument” that entered the professional-academic arena during the Baroque era. The research of A. Corelli’s violin style belongs to the field of organology, which is dedicated to the integrated study of instruments as the “organs” of musicians’ thinking. The close relationship, connection of the individual who is playing music with his/her instrument is not only one of the little developed theoretical problems, but also the basis of the practice for performing music, as well as learning this art. Analysis of recent publications on the topic. The available sources on the creative work of A. Corelli (written by K. Kuznetsov, I. Yampolsky, L. Ginzburg, N. Harnoncourt) contain either general information or individual observations on the image of the violin in the Baroque era. It is necessary to point out the significance of the general theory of the violin style (E. Nazaikinsky, V. Medushevsky, V. Kholopova, Y. Bentya) for the development of scientific ideas about the "image of the violin". The purpose of the article is to identify the special features of the “image” of the violin in the style of A. Corelli on the material of Concerti grossi op.6. The presentation of the main material. At the time of the creation of Concerts op.6 by A. Corelli, in Italy there was a violin school, which was distinguished by an exceptional variety of playing techniques. It was here that the historical process of replacing the viol with the violin was finally completed. The violin becomes the leading instrument in the instrumental genres of the 17th century music – suite, trio-sonata, solo sonata, and by the end of the century – concerto grosso. The path of movement to A. Corelli’s universal, generalized-reduced violin style ran along the line “ensemble feature – concert feature – solo feature”. The creation of the academic style of the violin playing logic is the merit of the Bologna school. The main thrust of the violin style of Bologna masters (Torelli, Antonia, Bassani, Vitali, and later Corelli and Vivaldi) is the combination of “church” and “chamber” models of the violin playing. For instrumental sound in an ensemble or orchestra, a “canon” and certain limitations in the technique of the playing are necessary, allowing establishing the balance of the parts of instruments and instrumental groups. The “invention” (inventio) in the violin playing, characteristic of the Italian school of the first half of the 17th century, was aimed at identifying the whole complex of the possible techniques of playing this instrument. The violin plating logic in Concertі grossi by A. Corelli is subordinated to the combination of two artistic and aesthetic tasks arising from two styles of concert making – the “church” one and the “chamber” one. Hence the choice of the appropriate techniques for playing. The “church” style, despite its democratization inherent in the Italian violin school, acquired the functions of a public concert for a mass audience and was distinguished by greater severity and regulation of the complex of the violin playing techniques. This stemmed from the genre style (“concert in the church”), where polyphonic presentation prevailed in the fast parts, the “tempo” names of the parts were used, and the organ in the numbered bass part was used. The “chamber” style opened up wider possibilities for the violin and the creation of an expressive technical complex associated with the genre (“dance” parts), replacing the organ in basso continuo with the harpsichord (cembalo), other stringed and plucked instruments (lute, theorbo), low string-and-bow instruments (gamba, cello, double bass), which gave a mono-articulate character to the general sounding. Playing shades of "lively speech" on the violin is a characteristic feature of A. Corelli’s violin style, reflected in the instrumental-playing complex through phrasing, attention to details and to micro-intonation. Conclusions. In describing the historical and artistic situation, in the context of which the style of the “great citizen of Bologna” was formed, its innovations have been outlined. The signs of the turning epoch have been indicated – they are the transition from the Renaissance polyphony and the “church” style to the secular homophony, with the instruments of the violin family singled out as the main ones. The particular attention has been paid to the principles of the violin intonation in the form of a speech playing (sprechendes Spiel) and dance motor skills, which together formed the semantics of A. Corelli’s violin style in the genres of concerto grosso, trio sonatas, solo sonata with bass. The main features of A. Corelli’s violin style, which became determinant for compositional decisions in the field of thematic, texture, and harmony, have been revealed.

코렐리(A. Corelli)의 트리오 소나타 Op. 1에 나타나는 교회 조(church keys)의 흔적들

본 논문에서는 코렐리의 Op. 1, No. 4의 마지막에 등장하는 특이한 종지로부터 출발하여, 선법이 아닌 교회 조가 조성체계의 등장에 앞서 주요한 음조직으로 자리잡고 있다는 바넷의 주장에 입각해 코렐리의 Op. 1 전곡을 살펴봄으로써 교회 조라는 이론적 체계가 당시의 음악을 설명하는 데에 어떠한 의미를 가질 수 있는지 가늠해 보고자 했다. 이 과정에서 교회 조의 존재가 각 조성의 주요 화음들이 나타나는(주로 종지가 이루어지는 지점들) 느슨한 배경이 될 수 있음은 확인할 수 있었다. 하지만 교회 조의 느슨한 틀로는 세밀하게 설명되지 않는 특이점들도 있었는데 몇몇 장조의 경우 단3도 아래의 단조화음이 종지점으로 자주 등장했으며, 가온화음의 경우 단화음이 자연스러워 보이는 자리에 장화음이, 장화음이 자연스러워 보이는 자리에 단화음이 등장하는 특이점도 확인할 수 있었다. 코렐리의 Op. 1에 대해 면밀히 살펴보았을 때 바넷의 주장이 모든 사례들을 설명하기는 어려운 맹점을 가지고 있는 것으로 보인다. 하지만 그의 논의가 조성의 시대로 넘어가는 시기의 작곡가들이 어떠한 방식으로 소리의 울림을 만들어 나갔는지에 대해 거리를 두고 생각해 볼 수 있는 의미 있는 이해의 틀이 될 수 있었다.

Colista or Corelli? A «waiting room» for the trio sonata Anh. 16

Recent research on manuscript and printed sources of Corelli’s output have re-opened discussion on doubtful works and have led to a new revision of Marx’s classification of Corelli’s catalogue. While the solo sonatas of doubtful attribution have already been reexamined, there is still much to be done on doubtful trio sonatas. In this respect, this essay focuses on a specific case: the conflicting attribution of trio sonata Anh. 16 classified by Marx among Corelli’s doubtful works and attested in a group of English sources, only rarely examined by Corelli scholars. In some sources Anh. 16 is attributed to Corelli, in others to the Roman lutenist and composer Lelio Colista, in others no ascription is reported. The purpose of this article is to explore the question of authorship of this composition through a comparison of all the manuscript sources, offering an up-to-date survey (some sources have only recently come to light). This comparison and a more wide consideration of the sources not only re-opens the debate on the sonata’s attribution, but also offers a more complete picture of the circulation and manuscript dissemination of Roman trio sonatas in England.

Bach and the Organ ed. by Matthew Dirst

Reviewed by: Bach and the Organ ed. by Matthew Dirst Joy Schroeder Bach and the Organ. Edited by Matthew Dirst. (Bach Perspectives, vol. 10.) Urbana: University of Illinois Press, 2016. [ix, 124 p. ISBN 9780252040191 (cloth), $60; ISBN 9780252098413 (e-book), $30.] Music examples, illustrations, index, work lists. For this latest volume in the Bach Perspectives series, Matthew Dirst edits essays by prominent scholars Lynn Edwards Butler, Matthew Cron, Robin A. Leaver, and Christoph Wolff, who presented earlier versions of their essays at "Bach and the Organ," a conference sponsored by the American Bach Society, the Eastman Rochester Organ Initiative, and the Westfield Center for Early Keyboard Studies, and held at the Eastman School of Music in September 2012 (http://www.americanbachsociety.org/meetings/rochester_program.html [accessed 18 February 2018]). Two additional essays, by George B. Stauffer and Gregory Butler, were solicited for this volume. In the preface, Dirst explains that Bach [End Page 78] was known during his lifetime as a "great player and an expert judge of new instruments" (p. vii). This volume adds to the extensive scholarship concerning Bach's organ compositions and his interaction with the organ culture of his time. In the essay "Bach's Report on Johann Scheibe's Organ for St. Paul's Church, Leipzig: A Reassessment," Lynn Edwards Butler states that, according to a 1718 memorandum by Daniel Vetter, Bach "could not praise and laud [the organ] enough, especially its rare stops" (Vetter quoted and trans. by Butler, p. 2). She mentions the impact of negative comments about the organ by Ernst Flade, a twentieth-century biographer of Gottfried Silbermann, and others, including a nephew of Silbermann who saw the organ in 1741. Butler assesses documents from the Leipzig University Archives to reassess Bach's report. Schiebe himself wrote many of the documents, which discuss the case, wind system, frame, stops, voicing, and tuning; describe the lighting effected by a nearby window; and mention the one-year guarantee and the bill. Apparently, Scheibe was not compensated at the amount he requested, although he maintained the organ until his death in 1748. According to Johann Nikolaus Forkel, Bach found the work "really good, and sum agreed upon too small" (p. 15). Bach also praised the "rare stops." Leaver's essay, "Bach's Choral-Buch? The Significance of a Manuscript in the Sibley Library," is a "description of that manuscript, a review of its provenance and content, and a discussion of its significance as a possible witness to the practices of the circle of organists who studied with Bach in the 1730s and 1740s" (p. 16). Research on the provenance indicates that the manuscript may have been listed in two different catalogs and was owned by music theorist Heinrich Schenker and Bach biographer Philipp Spitta, among others. The paper's watermark is similar to those in books originating in Dresden in the 1740s. Bach apparently had many Dresden connections, including his son Wilhelm Friedemann, who was organist of the Sophienkirche in Dresden until 1746. The Choral-Buch has simple organ accompaniments with bass figures for congregational chorales and may have served as a pedagogical tool for Bach's students. Spitta, however, did not believe Bach wrote the Choral-Buch, because it did not have "settings deemed daring enough to confuse the Arnstadt congregation" (p. 26). The essay concludes with an extensive table listing the contents of the 285 pages of chorales and alternative settings of the same texts. In "Miscellaneous Organ Trios from Bach's Leipzig Workshop," Stauffer argues that the appearance of the Six Trio Sonatas for organ, BWV 525–30, "emerges not as a sudden, isolated event, but rather as the logical outcome of a period of concentrated study and experimentation with the free organ trio" (p. 59). He discusses the origin of the organ trios (including BWV 21/1a; 583–87; 790a; 1014/3a; and 1039/1a, 2a, 4a) and the organ concerto, BWV 597, and proposes that they stem from Bach's tenure in Leipzig from 1725 to 1730 or so. Though Stauffer believes that BWV 597, 790a, 1014/3a, and 1039a were created in Bach's workshop by colleagues and students, he asserts that BWV 21/1a and 584...

Corelli’s colleagues

If the activities of the recording industry are any guide, Corelli is currently riding the crest of a very substantial wave which shows no sign of breaking. He is also benefiting by association other composers whose own music is a testimony to the powerful influence which his small but perfectly formed output enjoyed right across Europe—and who are now building interesting discographies of their own. A recent review of recordings of music both by his own pupils, and by devoted disciples who had no direct contact with him (‘In the shadow of Corelli’, Early Music xliv/2 (2016), pp.354–6), brought to light some unfamiliar but most enjoyable music, including Antonio Caldara’s two sets of exceptionally fine trio sonatas, which certainly merit a place in every Baroque chamber ensemble’s repertory. The group of recordings being considered here performs a similar function by providing a showcase for composers who are today probably even less well known than Caldara, and who were not pupils or far-flung disciples but professional colleagues working alongside him in Rome. Antonio Maria Montanari (1676–1737), Giovanni Mossi (c.1680–1742) and Giuseppe Valentini (1681–1753) were Roman violinists who regularly played for Corelli in the ensembles which he assembled for the plethora of grand musical occasions over which he presided. All three are known to have taken part in the first performance of Handel’s new oratorio La Resurrezione di Nostro Signor Gesù Christo, which took place at the palace of Handel’s patron the Marchese Ruspoli on Easter Sunday 1708.

The Mysterious Matthew Novell: An English Imitator of Corelli

Matthew Novell has hitherto been one of the more obscure of the English musicians who wrote trio sonatas based largely on Corellian models in the years around 1700. His set of twelve sonatas, self-published in London in 1704 and reprinted in Amsterdam by Estienne Roger in 1705, is unusual for conforming to the ‘da camera’ rather than the ‘da chiesa’ type. Although their musical quality is modest, the sonatas contain several interesting features, including the use of the still-rare key of B major. Their debt to Corelli emerges clearly in the paired grouping by key of the sonatas, their movement types and titles, and in the appearance of several stylistic hallmarks such as the ‘Corelli clash’ and walking bass. New biographical investigation reveals Novell to have been an amateur player of the bass viol, who was probably born around 1678 into a geographically mobile family that in previous generations had included a prominent churchman and a leading physician. He was apprenticed in 1692 to a vintner, and appears to have plied the same trade until his death in 1728 in Oporto, where he had lived for many years. His intense but seemingly short-lived engagement with musical performance and composition typifies the world of English amateur musicians of his period and milieu.

French chamber music

In promoting his cherished réunion des goûts, François Couperin never sought to denigrate the native French musical tradition but rather to enrich it with elements imported from Italy in an attempt to achieve ‘the perfection of music’. The present batch of recordings, consisting mainly of chamber music composed between the 1690s and the 1740s, illustrates the varying degree to which French composers of the period came to terms with Italian styles and techniques or, in some cases, ignored them completely. Elements of the two national traditions are nicely juxtaposed on a disc entitled Italy versus France: Lully, Corelli, d’Anglebert, Rebel, Muffat, Couperin (Hyphen Press Music hpm004, rec 2010, 79′), part of an enterprising series in which The Bach Players approach French music from various different perspectives. At one extreme in the present programme is a group of items representing the unalloyed style français—the overture and chaconne from Lully’s Le Bourgeois gentilhomme, together with two theorbo pieces by Robert de Visée and d’Anglebert’s Tombeau de M. Chambonnières, a tribute to the founder of the French clavecin school. At the other is Corelli’s trio sonata on the ciaccona, op.12 no.12, plus a keyboard toccata by Pasquini and the G minor sonata from Georg Muffat’s homage to Corelli, Armonico tributo. Between these are two further works in that archetypal French genre, the tombeau, which nevertheless adopt the medium of the Italian trio sonata: Jean-Féry Rebel’s Tombeau de M. de Lully and Couperin’s Le Parnasse, ou L’Apothéose de Corelli. This imaginative programming creates an anthology which amounts to far more than the sum of its parts. All the music is first rate, and The Bach Players, directed by Nicolette Moonen, do it full justice, whether in Muffat’s sublime contrapuntal edifices, or in the dignified but poignant tombeaux by d’Anglebert and Rebel, or in Couperin’s evocation of Corelli’s ‘enthousiasme’. Uplifting and hugely enjoyable.

Patronage, Sacrality and Power at the Court of Vittoria della Rovere: Antonio Veracini's Op. 1 Trio Sonatas

During the seventeenth century, the Medici family sought to legitimize its power by using art to communicate a political message, referring constantly to a precise code of sacred imagination and religious devotion. This article focuses on Antonio Veracini – a violinist in the service of Vittoria della Rovere – and on his op. 1, which shows a perfect agreement with the aesthetic ambitions of the grand duchess and with her double role of regent and defensor fidei. In the light of recent studies that reconsider the traditional historiographical approach to what has been called the ‘bigotry’ of Cosimo III, Antonio Veracini's sonatas – in comparison with two other coeval collections of trio sonatas dedicated to Grand Prince Ferdinando (by Pietro Sanmartini and Giovan Battista Gigli) – show a full awareness of the expressive potential of the sonata, transforming it into a musical genre capable of conferring not only ‘pleasure’ and ‘delight’ but also symbolic significance within specific cultural contexts.

Bach on the organ

Any quintessential organ recording must surely include some music by J. S. Bach. But do we really need more Bach recordings? Those reviewed here provide an unequivocally positive response to the question. New efforts have highlighted various aspects of Bach's oeuvre for the organ, including the music that he copied as a youth, works of doubtful authenticity, vivid interpretations on historical organs of the 18th century, and skilful adaptations of his trio sonatas and Goldberg Variations. Jean-Claude Zehnder examines the earliest musical sources copied by Bach in J. S. Bachs früheste Notenhandschriften (Carus 83.197, rec 2006, 52′). This project, intended to illuminate the formative influences on the youthful Bach, resulted as a co-production between Carus-Verlag in Stuttgart and the Bach-Archiv in Leipzig. The programme includes chorale fantasies and settings by Buxtehude, Pachelbel and Reincken, as well as two of Bach's own earliest chorale arrangements, the fragments BWV731 and BWV...

Graun-Werkverzeichnis (GraunWV) , and: Die Musikaliensammlung Thulemeier und die Berliner Musiküberlieferung in der zweiten Hälfte des 18. Jahrhunderts (review)

Reviewed by: Graun-Werkverzeichnis (GraunWV), and: Die Musikaliensammlung Thulemeier und die Berliner Musiküberlieferung in der zweiten Hälfte des 18. Jahrhunderts Mary Oleskiewicz and David Schulenberg Graun-Werkverzeichnis (GraunWV). By Christoph Henzel. Beeskow, Germany: Ortus Musikverlag, 2006. [2 vols., xxix, 925; and 352 p. ISBN 10 3937788026; ISBN-13 9783937788029. i98.] Music examples, facsimiles. Die Musikaliensammlung Thulemeier und die Berliner Musiküberlieferung in der zweiten Hälfte des 18. Jahrhunderts;. By Tobias Schwinger;. Beeskow, Germany: Ortus Musikverlag, 2006;. [729 p. ISBN-10 3937788085; ISBN-13 9783937788081. i249.] Music examples, facsimiles. The two substantial reference works reviewed here are both from the impressive new German publisher Ortus (although both bear the date 2006, they actually became available only in mid-2007). Each documents a repertory central to musical life in eighteenth-century Berlin. Although the city's Bach sources have been thoroughly investigated, other Berlin collections have not previously received systematic attention, despite their importance for the musical and cultural history of the city—one of those European capitals whose music during the galant age has attracted renewed interest in recent years. Both publications are recommended for comprehensive music research collections. Henzel's thematic catalog of the works of the Graun brothers is a major step toward understanding two prolific composers who spent the greatest part of their careers in Berlin. Carl Heinrich Graun (henceforth CHG), best known since the late eighteenth century for his oratorio Der Tod Jesu, was primarily a composer of Italian operas and cantatas. He was employed as Capellmeister by King Frederick II "the Great" of Prussia from 1735, when Frederick was still crown prince, until his death in 1759. His older brother Johann Gottlieb (JGG) was primarily a violinist and composer of instrumental music. A member of Frederick's court from 1732 onwards, he held the title Concert meister. Both composed numerous concertos, trio sonatas, and other chamber works. Most of their compositions remain in manuscript, with attributions that are often limited to the last name. Hence their output raises numerous questions of authorship, and it is eminently practical that a single catalog should encompass the works of both composers. No identifable works survive by a third brother, Friedrich August, but the family's musical tradition extends to the twentieth-century composer Nicholas Nabokov and the singer and translator Dmitri Nabokov, son of novelist Vladimir Nabokov, all descendants of CHG. The large number of works—just under a thousand—and the problems of attribution would make any Graun catalog difficult for the non-specialist to negotiate. One is grateful to the author and publisher for providing a second volume containing indexes of names, manuscripts, text incipits, and melodic incipits. The latter is essential, given the many categories in which an individual work might be listed; although limited to incipits for the initial movements of instrumental works, it includes incipits for opera overtures, which circulated as independent sinfonias. Missing is a list of bibliographic abbreviations, a deficit shared with the other volume under review. Moreover, a complex classification scheme may force one to search multiple sections of the catalog to find the entry for a particular work. There are three major divisions: works of JGG (group A), works of CHG (group B), and [End Page 722] works by "Graun" that cannot be assigned definitively to one brother or the other (group C). Even for works in category C, however, Henzel assigns works provisionally to JGG or to CHG. Doubtful works (group D) follow, and a relatively small number of misattributed works occupy an appendix. Works within each group are sorted into twenty generic subcategories designated by roman numerals. Thus the very first work listed, a secular cantata by JGG, is designated "GraunWV A:III:1." Fortunately, within each genre category there is but a single series of arabic numbers, regardless of composer; thus the catalog lists the first of the secular cantatas by CHG as B:III:12. This system is not for the faint-hearted. Some simplification might have been achieved by combining smaller genre categories; for instance, passions, funeral music, Latin sacred works, and sacred cantatas and oratorios might have been grouped simply as "larger sacred works." This would have avoided the problematical listing...